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This article is more than 1 year old
Intel says data centers much too cold
Frozen assets a waste of cash
Intel wants you to know that data centers are wasting energy - and money - by over-cooling their servers, burdened by warranties that may prevent them from aggressively raising their temperature.
During a wide-ranging discussion on enterprise-level cloud computing last week, Intel's director of platform technology initiatives in the company's server platform group, Dylan Larson, pointed reporters to a recent energy-efficiency study (PDF) conducted by representatives from Intel, IBM, HP, Liebert Precision Cooling (a division of Emerson Network Power), and the Lawrence Berkeley National Lab.
That study included results from a recent Liebert survey of members of the Data Center Users Group (DCUG) that showed that each and every one of the respondents are cooling their data centers significantly more than needed.
The "than needed" figure is 27°C (80.6°F), as recommended by no less than the leading US cooling-industry consortium, the American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE).
The ASHRAE recommendations were published last year in the consortium's "Environmental Guidelines for Datacom Equipment," which raised their 2004 high-end recommendation for inflow temperature from 25°C (77°F) to 27°C (80.6°F).
Of the 98 respondents to the DCUG survey, however, none had a computer-room air handling (CRAH) inflow temperature higher than 74°F (23.3°C), and the majority chilled their air to 70°F (21.1°C) or below.
Cooler heads say that chilling below 81°F wastes money - survey says everyone does it
This info came up when Intel's Larson was discussing Advanced Cooling Environment (ACE) technology intended to provide a closed-loop monitoring and management system to allow servers to safely rise to that ASHRAE max. Doing so would save a tremendous amount of power.
As he explained it, "The [wasted] power comes from the fans in the CRAC units running overtime to push cool air into the system" - CRAC units being computer-room air-conditioning units, like CRAHs.
"If you can reduce how much the fan has to work by even a small percentage, you get a substantial improvment in power," he said, "and reducing the fan requirement by half reduces power consumption by something like 87 per cent."
Chilling the air, of course, also requires a significant power outlay, but getting the servers to tell the CRAC units exactly how much cooling they need and exactly when they need it isn't as straightforward as it might sound.
"This has been a pretty interesting ride," Larson explained, "The CRAC vendors run a totally different protocol than the server vendors, which run IPMI or WS-MAN. The CRAC vendors run Modbus and another protocol that are completely orthogonal."
Translation: Servers and cooling systems don't speak the same language.
However, says Larson, "Working together with that industry to map a communication of those protocols can help us make a pretty dramatic reduction in power consumption by reducing the level of cooling required."
Of course, CRAC-unit vendors aren't motivated to step up and say that overly cool data centers are wasting power and money, seeing as how some of that money goes to them for more-powerful cooling systems.
But Larson is optimistic. "Believe it or not, we've been able to work with CRAC-unit vendors like Liebert and Emerson to look at how we can actually manage to get to a point of addressing reductions in power by managing temperature more effectively."
Perhaps CRAC dealers with enlightened self-interest will find increased profits in retrofitting their installed bases with power-management intelligence.
But when asked about a specific data center that has been rumored to be trying some aggressively higher inflow temperatures - up to even 100°F (38°C) - Larson said: "I don't think they're breaking our requirements yet because we have a warranty association with that."
When asked about Intel's policy when it comes to spreading the higher-temperature gospel, Larson said: "I'll be honest. We are pretty conservative about quality at Intel. We do get people who say, 'Hey, give me some relief on my ability to get warranty for your products when I run them really, really hot.' We haven't really done that. But we do know that we can meet the requirements of ASHRAE in this context."
So take a look at your warranties. Although Intel's Larson says that he doesn't see a wave of warranty renegotiation in the near future, he does suggest that ASHRAE's guidelines are sound.
Just don't try to sell him on a 100°F data center. ®


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Welcome to Mahara
Mahara is a fully featured electronic portfolio, weblog, resume builder and social networking system, connecting users and creating online communities. Mahara provides you with the tools to set up a personal learning and development environment.
For more information you can read About Mahara or alternatively please feel free to Contact Us.

subset: commoncrawl


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Denver Carpet and Hardwood Flooring
A family owned and operated Denver business celebrating 26 years of outstanding customer service, installation and product line.
When looking for a great flooring store, Colorado residents know Denver Carpet and Hardwood is hard to beat. Not only will you get a straight answer on flooring and installation, we will tell you why. You are dealing directly with the owner: a 26-year flooring installation and flooring product veteran. We are not the typical sales people that are taught the product line and how to measure and then told to only go sell the products. Not only do we know the products but we know the installation.
Denver Carpet and Hardwood sets itself apart from the National Retailers and the big box flooring stores in Colorado by listening to the customers' wants and concerns when it comes to flooring. First we ask you what are you looking for? Do you have kids or pets? How long are you going to be in the home? We fit the product to you. Not you to the product. We also understand that there are customers out there that know the product they are looking for and need no education; but for those of you who do, we are here to help.
Being in the business for as long as we have, our number one goal is YOU. The second is to not oversell, under promise or underachieve. We do this to build not only you as a customer for life, but your friends and family as well.
We will always be there for you, whether it be day, night or even the weekend for any of your carpet or hardwood flooring questions in the Denver, Colorado area. Just give us a call.
Wondering how do we do all this? That's easy: we are a low overhead low cost company. We bring the products to you. Ever go to the store and bring home a sample just to find that the color is way wrong? Why waste the gas going back and forth from the store to your house when you can see the products and all the colors in the comfort of your own home? Denver Carpet and Hardwood, Colorado's premiere flooring store, does free in-home estimates. There is no charge to come out and measure then take the price off of your bill. We take care of you right there on the spot. Again, is there any better customer service than that?
Looking for a big selection in your flooring store? Denver Carpet and Hardwood has it. We have the buying power of all the major manufactures: Shaw, Mohawk, Beaulieu, Somerset, Homerwood, Br111, Nova, Columbia, and Mullican. Just to name a few.


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The influence and restraints of technology on amplifying the guitar
Let's pretend for a moment that former Gibson historian Julius Bellson misinterpreted stories of Lloyd Loar's experiments with electrified instruments during his brief stay in Kalamazoo. After all, there was 10 years between Loar's departure and Bellson's arrival, and almost another 40 before he wrote about it (think '48 Broadcaster). Suppose the rumored photos of Loar playing electrically were from the early 1930s, not the early '20s. Could his personal electric viola be one of his early-'30s Vivi-Tone designs? They did offer them for sale, and Gibson wouldn't tackle the violin family until 1940.
Suppose the rumored Loar pickup Walter Fuller "found" in 1935, when he began his work on electrics, had not been laying around the factory untouched for over 10 years and was actually from just a short time before, when Gibson was installing test pickups under the soundboards of a few old archtops (Fuller claims to have never said it was Loar's).
Considering just about every book on the subject that followed Bellson's perpetuated the myth, or even exaggerated it more; can we ever accept that maybe Lewis Williams, future Vivi-Tone founder, lost his job at Gibson in 1923 for filling the company's catalogs with page after page of nonsensical prose and for misjudging the market to the point of nearly bankrupting the company, and that Loar, with the ego of the accomplished musician he was (among other things), could have been released from his employment for not getting along with his "superiors," and that it wasn't for insisting the company put his prototype electric guitars – of which there are no records or pictures – into production? Bellson's account has been implied repeatedly to the point many people today think Gibson invented the electric guitar, which is simply not the case.
You'll notice in Walter Carter's wonderfully-researched history that there is little mention of it. You would think the company would have wanted to play it up for their 100th anniversary. Loar may have experimented with electrifying stringed instruments during his short stay at Gibson, but his project would have been doomed because there was no amplifier available at that time to make it feasible. So which came first – the electric guitar or the guitar amp?
In Loar's era, the only speakers made were radio horns of limited frequency range and low acoustic output. Acoustic versions were used for phonographs and had even been attached to harmonicas, violins and guitars in the early quest for volume. The cone speaker wasn't available until 1925, and a spun aluminum version was soon integrated into the metal-bodied Nationals, and wood-bodied Dobros, being excited by the bridge's vibrations instead of an electrically-stimulated voice coil.
Consider that the Fleming, DeForest, telegraph, telephone, radio, public address system, Vitaphone, batteryless-operation rectifier, push/pull screen grid output tubes progression of audio allowed for first, the transfer of electrical impulses; second, the reproduction of audio at less than original volume and; finally, the amplifying of audio. Once practical AC-operated amplifiers became available, it wasn't long before they were used with musical instruments. Amplifiers were able to reproduce audio at a level higher than the original signal by the end of the '20s, which is the only logical place to start a history of amplified instruments. If the source signal was louder than what came out of the speaker, as would have still been the case in the early '20s, what would have been the point?
The first high-powered audio amplifiers were developed for public address systems and theater installations. The first versions were huge and expensive. As technology allowed for smaller, portable combo amps, without the bulky batteries required for operation before 1927, PA systems quickly became popular with musicians and are still preferred for certain instruments today. Even after the release of dedicated guitar amps, many players, including Leon McAuliffe (with Bob Wills) still used a carbon mic and a portable PA as late as 1935. There was actually little difference between a portable PA and a guitar amp at the time.
Presented here in chronological order of release are the commercially-available American guitar amps from 1928 to the end of 1934. Common features of these models include bent metal chassis with no control panels, a single volume control and one or two input jacks, field coil speakers with built-in output transformers for the power amp section, thin (1/4″ to 3/8″) wooden cabinets, and AC power cable with non-polarized two-prong plugs. Conspicous by their absence are tone controls of any kind, on/off switches, pilot lights, and fuses. All these single-channel amps had low power, under 10 watts, and small speakers, 10 inches or less.
PART I: Early Amplification For the Electrified Guitar
Stromberg-Voisinet (1928-'29)
The Stromberg-Voisinet company appears to be the first to market a functioning production model electrified stringed instrument and amplifier set. Promotion was directed to music dealers through an ad in the 1929 Purchasers Guide to the Music Industry and a full page in the Chicago Musical Instruments jobber book, which showed the $165 AC-powered portable "two stage amplifier" surrounded by a bevy of $40 magnetic pickup-equipped "Stromberg Electro Instruments." Not much is known about the amp, as an existing example has yet to show up for inspection; would anyone even suspect they had the first of its kind if they found one? Looks more like an oscilloscope or an early television than a guitar amp, with the speaker appearing to have a shiny or metallic cone, as seen on the resonator instruments of the time. The input jacks were mounted to a panel on the side of the cabinet, at the top rear corner, using a pair of banana plugs instead of the 1/4″ and Amphenol connectors that would become standard in the '30s. Who knows if it even had a name tag, logo, or anything with "Stromberg" on it, so put this image into your long-term memory and keep your eyes open the next time you visit Grandma's attic!
Supplying signal to the amp was a "magnetic pickup built into the instrument which takes the vibrations direct from the sounding board." As Vega, Vivi-Tone and Gibson would also discover, this "electrified" method of reproduction was not the best way to make a steel-stringed instrument louder. Suspicions as to why the Strombergs weren't successful include unsatisfactory tone and volume, dependability problems, fear of such a product by the traditionalist music market, and the effects of the depression, which followed shortly after their release.
While generator-powered "farm radios" were available for the electricity-less rural portion of the general population, it seems doubtful designers of professional-use instruments would concern themselves with courting those few potential customers, no matter where they resided, who would be actually using the set outside of the cities. While not overly successful (a few hundred were reportedly made), Stromberg-Voisinet paved the way for future models by introducing and promoting what was, at the time, a very novel idea.
Vega (1928-'29)
Even less is known about the first Vega electrics, as all that has shown up is a mention in the January 1929 issue of The Crescendo; "The device consisted of a unit attached to the head of the banjo which transmitted the tone to a portable amplifying unit and radio speaker." Anyone have anything in a catalog showing one of these? Vega's market strength was in banjos, so it is understandable their R&D was in that direction, even if banjo mutes and mufflers were popular accessories for the loudest of the stringed instruments. By the way – the Vega Electric Model banjos of the early 1900s were neither electric or electrified.
PART II: Early Amplification For the Electric Guitar
Electro (1932) and Rickenbacker (1934)
Following the electrified guitar's false start of 1928-'29 and the success of the National and Dobro resonator instruments with acoustically excited "speaker" cones, it was surprisingly long before the Electro String Instruments and amplifier (not to be confused with the Stromberg Electro Instruments) were released in 1932 by Ro-Pat-In of Los Angeles, a small group of men connected to National. Proclaimed by the company to be "The most Marvelous Musical Invention of all time," the George Beauchamp designed, high output, string driven magnetic pickup was fitted to both a Spanish guitar and a small solidbody instrument set up to play Hawaiian style. Of course, an amplifier accompanied the instruments, only at a more reasonable price than the earlier makes. The proliferation and electronic advances of radio, not to mention the effects of the Depression, allowed for an affordable compact amplifier of appropriate volume for the era.
Most of the pre-WWII guitar amps would follow Electro's design featuring a small chassis mounted inside a shallow rectangular wooden box with a cutout for the speaker and a handle on the top. According to Richard Smith's thoroughly-researched The Complete History Of Rickenbacker Guitars, the building of the portable cabinets was originally subcontracted to Johnson Cabinet Works, while the electronics work was by Roy Van Nest's radio shop. The circuit design is credited to C.W. Lane, who was the fifth major stockholder, along with Beauchamp, Adolph and Charlotte Rickenbacker and Paul Barth, all famous today in guitar lore.
The Great Grandfather of the electric guitar, Alvino Rey, used his dependable 1932 Electro amplifier on hundreds of gigs and recordings before being rewarded three years later with new equipment for his association with Gibson. While he held on to most of his original instruments, the amp went before WWII. A different grillecloth, the addition of metal corners and an ornamental "Rickenbacker" tag separated the 1934 Rickenbacker amps from the original Electro models (see pages 30 and 28 of Smith's book).
Vivi-Tone (1933)
Although early Vivi-Tone ads made no mention of their amplifier, the instrument/amp sets were definitely getting into the hands of musicians during the early part of '33, with mentions in The Crescendo magazine of actual guitar and mandolin use for church services, in radio broadcast studios and at outside engagements. A gut-string Vivi-Tone was played through a giant PA system called the "Singing Tower" at an amusement park where "…the volume was stepped up 3,000 times," whatever that meant.
"A great success," the performer stated. "It was quite a thrilling sensation to play the guitar and hear those deep, beautiful tones come rolling out. It was, of course, a far richer and deeper tone than obtained with the portable amplifier."
Makes you want to go out and buy one, huh?
Not much is known about the standard 1933 amplifier, although a review of the set ("a dandy product") included "The Vivi-Tone amplifier will take care of four instruments – thus a quartet need take only one power case with it on the job." The company noted "…15 to 56 times more power than the corresponding instrument of the old type," and "10.38 more power than the corresponding bow instrument."
Following a short break, a new set of ads appeared in Downbeat magazine in late 1934, proclaiming "Guitarists! 30 times more volume with a Vivi-Tone Power Guitar," "Enough power to lead a 15-piece orchestra-and any way you put it, that's Power" and "the same mellow tone quality you would expect from the finest guitar, PLUS POWER GALORE!" No mention was made as to what made the Power Guitar so powerful until the ad in December 1934 for the release of the twin soundboard acoustic guitar. "We also have on display, the Vivi-Tone POWER (electrically amplified) GUITAR" appeared in small print at the bottom of the ad. Still no pictures to ponder. A surviving example of the "Aggrandizer" is pictured on page 358 of American Guitars, by Tom Wheeler.
Dobro (1933)
The first major push for electric guitars came shortly after the release of Electro's first production models and was made by National's nemesis/cohort, Dobro (note: George Beauchamp originally founded National with John Dopyera, who left to form Dobro, and despite losing his job at National before the Electros were released, he maintained his stock in the company and at the time of the Dobro electric's intro, was actually the Vice President, with John's brother, Louis, in charge; Dopyera resented Beuchamp's success). A full-page ad in the April Musical Merchandise Review magazine showed the magnetic pickup equipped Dobro All-Electric guitar and amp set. The requisite amplifier featured two 8″ Lansing speakers and a five-tube chassis, encased in a cabinet not unlike Electro's, save for the stylish cutout logo covering the speaker grille. Chances are good the matching corners, handles and covering were from the same source. Priced at $135 for the set ($75 for the amp), it seems obvious Dobro was going all out against the $175 Electro set, even extolling "Dobro challenges comparison" in large, underlined print. The competition would counter by eventually lowering its price to $125 for the set.
An article elsewhere in the issue told of the factory "…working overtime making up sample orders" and regular production would "begin at once," using "the aid of their sound and radio engineers." It's doubtful the manufacturer of resonator instruments had much of a radio engineering staff, although the amp was "Designed by Dobro engineers, built in Dobro's own plant," according to the ad. Whoever built the amps wasn't in the market for long and Dobro's promise of "…mandolin, banjo, ukulele, etc." versions was postponed or never fulfilled. The Dobro Twin Speaker Amplifier did predate (by over a dozen years) Fender's twin-speaker Dual Professional/Super, thought by many to be the first amp with twin speakers.
Audio-Vox (1933)
Mention should be made of the Seattle-based Audio-Vox company of the 1930s, which was probably in its infancy at this point. The patent for Dobro's All-Electric guitar pickup was credited to Arthur Stimpson, who worked with Audio-Vox founder Paul Tutmarc. These folks must have had an amp to go with their prototypes, but it is not known what the early model was like, or if it was the inspiration for the Dobro model. At that point, Audio-Vox was probably just a vision of Mr. Tutmarc's, and certainly not in the national market.
Vega (1933)
An article in the May 1933 issue of The Crescendo stated "The new Vega amplifier also caught our attention. With this fine new instrument (pickup and amplifier set) it is possible to use any make of instrument with a Vega unit installed in it and the instrument may be played after equipping, either with or without amplification. Any number of instruments may be used on one Vega amplifier." Vega's practice of offering an amplifier and pickup to be used with someone else's guitar was not that different from Rickenbacker taking someone else's guitar (Harmony) and using it with their amplifier and pickup. Like the Vega amp from 1928, today little is known of this set.
Volu-Tone (1933)
While no one dared offer an electrified or electric guitar without also offering an amp to power it, the Volu-Tone company of Los Angeles, like Vega, manufactured an amplifier and pickup set designed to be used with any existing guitar. The idea was valid, as shown by the later success of the DeArmond pickups; however, Volu-Tone went about picking up the instrument's vibrations using a unique, not to mention potentially deadly, method. The pickup, which mounted to your favorite steel-stringed instrument, had to be charged up with a short blast of high voltage current provided by a special jack mounted to the amp's chassis.
On the inside wall of the amp's cabinet was pasted an instruction sheet reading (text missing from damaged label is in parenthesis) "(plug AC power cable in) to convenient recepticle. (Insert instrument cable) plug into energizing socket at extreme right. (Remove) guitar plug from energizing socket almost immediately. This energizes the strings, without which the Volu-Tone is inoperative. The energizing operation must be repeated every time a string is replaced. DANGER: do not permit the guitar plug to remain inserted in the energizing socket for longer than a second or two or harm to the instrument will result. Insert guitar plug into one of the sockets on the left. IT IS NOW READY FOR USE."
Considering the amp was not equipped with a fuse and the casing of the plug was metal, it's hard to imagine that; a) Volu-Tone was allowed to even sell these, and; b) the company stayed in business from the summer of 1933 into at least the late '30s without being shut down due to a wrongful death (or at the very least, a serious personal injury) lawsuit. The cable connecting the pickup to the amp was fitted with four-prong connectors at either end to ensure no other pickup would ever feel the 300-plus volts necessary for operation. Having a male plug at the amplifier-end of the cable protected the user from accidently touching the high voltage prongs in the amp's energizing socket.
Unfortunately, having a male plug at the pickup-end of the cable meant if you didn't plug the pickup in first, you had high voltage on the prongs!! If you didn't follow the directions, and unplugged the cable from the pickup while it was still connected to the energizing socket, zapp!!
The different styles of connectors at each end did insure that no one accidently plugged the high voltage of one Volu-Tone amp into the high voltage or the inputs of another. A small red label above the jack read (in very small letters) "Caution. Do not permit plug to remain inserted in this jack for longer than two seconds." Hopefully there was a thorough owner's manual included, warning of the potential hazards to life and limb.
The model tested for this article appears to be from the mid '20s, having one of the new 6L6 power tubes, but the earliest models should be similar. A 6C8 preamp tube and an 80 rectifier complete the tube complement, although an extra tube socket was plugged, suggesting the previous model had a second power tube. The 5″ speaker was made by Rola. A volume control was the only feature of what probably was the student model amp ("Why don't you go play with our Volu-Tone, Junior…"), with no on/off switch, pilot light, or fuse. The cabinet is covered in a spiffy three-tone tweed with a leather handle and a Volu-Tone logo cut from wood as a speaker protector.
Dobro (1934)
Despite the commercial failure of Dobro's All-Electric model, the company came back the following year with a less-outrageous, more acoustic, electric guitar. Adding a pickup, a volume control and a 1/4″ output jack to a stock resonator model made for more mass appeal. The guitar could be played with or without the amplifier, which was a new model, having a metal cover for the speaker opening that matched the guitar's coverplate. The pair can be seen on page 290 of American Guitars (note: ignore the date).
The amp is described as being equipped with an 80 rectifier and a pair of 42 power tubes in part one of Michael Wright's exhaustive Supro series (VG January '97), but was incorrectly identified as the mate to the '33 All-Electric, and vice versa, the initial twin-speaker amp of '33 mistakenly wound up with the '34 Electric Resonator. The revised guitar was probably about as loud acoustically as through the amp (which put out less than 10 watts), making it another commercial flop. By the summer of '35, National and Dobro had joined forces and released nearly identical Spanish and Hawaiian guitars and a pair of amps similar to the '34 model, but with smaller cabinets, different handles and upgraded chassis, as seen on page 301.
Gibson (ca. 1934)
Hey, where's Gibson in this story, you ask? Well, at least two electrified prototypes were made up using guitars from the late '20s/early '30s, as seen on pages 10 and 11 of Andre Duchossoir's Gibson Electrics – The Classic Years. These were never made available or promoted to the public. A surviving amp similar to the one pictured with the L-4 has been found to be from around 1933-'35, dating at least one of the experiments much later than 1929, as previously implied.
Enough said about Gibson's lack of involvement in the formative years of the electric guitar; on to the amplifier. The builder is currently unknown, though probably from Chicago and almost certainly not Gibson.
The beautiful, carved mahogany, leather-handled cabinet housed two 5″ Utah speakers and a five-tube chassis. The two 25Z5 rectifiers suggest the amp was a "universal AC-DC model." The twin 43 power tubes also were designed for AC/DC, as was the preamp tube. It would be interesting to know if these amps were made specifically for Gibson, or if they were already on the market for use as portable PA systems.
By the start of 1935, things were about ready to take off in the electric guitar market. That year alone, Electro/Rickenbacher would sell more amps and electric guitars than all the amps and electrified/electric guitars made from '28 through the end of '34, combined! We'll look at what was responsible for the enormous growth and all the amps from '35 to WWII in the near future. Also look for a companion piece to this article, covering the guitars that came with these early amps.
Portable PA system, $115 – 1931.
This article originally appeared in VG's Sep. '97 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.


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Just a short thought tonight...
If you haven't seen it, check out this video of the BP oil leak, via Deep Sea News (if it isn't showing right, try this link). A mile underwater, fifty miles from our shores. And turning into an environmental and economic catastrophe.
How did we end up here? The comparison to drug addiction is so apt. At first, the oil was easy, literally leaking out of the ground in places (the picture below is Signal Hill in Long Beach, California in the 1920's). Our country grew dependent on it for transportation, for agriculture, for plastic for God's sake, until it pervaded our society. We started to run short in the 1970's, and realized we were dependent on it, and that it was becoming expensive to maintain our habit. We made tentative efforts to conserve it, to use a bit less, and our overseas suppliers flooded the market until we gave up such silly pursuits as electric cars. And where are we now? Certain politicians tell us we have to drill our way out of this fix, going into ever more hazardous environments to find crude. They speak as if there is enough oil underground on our continental shelves to relieve our dependence on foreign sources. What can we geologists say?
There isn't enough.
We could drill every drop in our country's territory, and have no more than a decade's worth. There are alternatives, but we need politicians and commentators who have the courage to do an intervention, to tell us the hard truths. Unfortunately, they are cowards, or worse, in the pockets of the pushers.
Update: My first impression of the Climate Bill is that it is just the kind of soft squishy something-for-every polluter/energy producer that is neither bold action, nor particularly helpful.


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Originating in the mid-80s, a celebrated but little known California trio dubbed The Nashville Ramblers turned more than a few heads with their only publicly issued song, "The Trains" (though let it be known, the band never officially broke up, and have performed live as recently as last year). That beautiful, revivalist slice of Meresybeat pop initially came out on an obscure British compilation in 1986 that just a scant few were familiar with, however it received greater availability once it resurfaced on Bomp Records 1996 The Roots of Powerpop compilation, as well as the Children of Nuggets box set courtesy of the anthologizers at Rhino Records in 2005.
01. Can't Get It Out of My Head
02. Raspberry Way
03. Fly
04. Orch.
05. Grains of Sand
06. You Breathe and Dream
07. Everyone
08. Time
09. Caroline
10. Dance With Me


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PRESS RELEASE: Yamaha Guitars has announced it is to support the highly successful and popular 'Big Guitar Weekend', now in its fifth year andhosted by The Royal Conservatoire of Scotland in Glasgow - previously known as the Royal Scottish Academy of Music and Drama.
This will be one of the first major events taking place in the Conservatoire following its name change on September 1st.
Held between November 4th and November 6th, the weekend is a superb festival of classical and jazz guitar concerts, masterclasses and workshops for guitar enthusiasts.
A highlight of this year's event will be the Grand Final of the inaugural Scottish International Guitar Competition.
Another innovation this year is a new Jazz Course hosted by Kevin MacKenzie and Malcolm MacFarlane, both hugely respected artists from the Scottish Jazz scene.
The hugely popular concert series, which features a stellar line-up of international stars, is headlined by Czech superstar Pavel Steidl, returning to Glasgow for a second time. This year Pavel will be performing with the amazing David Tanenbaum, highly acclaimed both as an outstanding performer and educator.
Travelling in from Brazil is Scotsman Paul Galbraith, who has enjoyed an international career spanning three decades. Complementing Paul will be the Agnew and McAllister Duo who this year celebrate their tenth anniversary as one of the most sought-after flute and guitar duos in the world.
Allan Neave, Artistic Director of BGW 2011 said: "This will be the most ambitious programme yet. I am also delighted that a group of young musicians from the Yehudi Menuhin School will be making their first visit to the Royal Conservatoire of Scotland - they will have a great time working with our teaching team and playing to the enthusiastic Glasgow audience"
Yamaha's Martin Adam commented: "It's a real privilege to be involved in this year's festival, we are enormously impressed by the ambitions of the organisers, and the world-class line of of guitarists.
"The event promises to be a celebtration of outstanding guitar talent. We are sure the Big Guitar Weekend will inspire more people to play and is perfectly in tune with Yamaha's commitment to creating new music makers."
Full details can be obtained from http://www.bigguitarweekend.com or by calling the RCS Box Office on 0141 332 5057
Information taken from official press release, for more visit Big Guitar Weekend.
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After releasing their debut single "Happy House", a brilliant cover of Siouxsie and the Banshees' 1980 classic song, on Kitsuné last summer, Belgian pop trio Shindu return with their brand new jam "All In My Fridge" on German dance label Kiez Beats. The EP comes with a very strong remix package, featuring remixes by Cosmonauts, Softwar, Pharao Black Magic, Sovnger, Kreap, and Stubbs and it will be released digitally on January 20th exclusively on Beatport. Check out the minimix here and grab Pharao Black Magic's remix of "All In My Fridge" for free. These guys never disappoint. Fill it up!
Download here
In case you missed it, check out Pharao Black Magic's awesome winter mix here.


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Vermont State Police Log: Alcohol a factor in several incidents
ADDISON COUNTY — On April 12 at 1:22 a.m. Vermont State Police responded to a report of a vehicle off the roadway on Weybridge Road in Weybridge. The trooper reported that when he arrived at the scene he saw Jared Litch, 23, of Middlebury attempting to pull a vehicle belonging to Marissa Friend, 23, of Bristol back onto the roadway.
The trooper took both Friend and Litch into custody for suspicion of driving under the influence and transported them to the New Haven barracks for processing. He issued Friend and Litch citations to appear in Addison County Superior Court, Criminal Division, to answer the charge of driving under the influence. They are due in court on April 28.
In other recent activity, state police:
• On April 8 at 7:25 a.m. were called to investigate the theft of a Stihl hedge trimmer from a garage on Maple Run Road in Leicester. The victim reported that the theft occurred sometime within the past month. Anyone with information is asked to contact VSP at 802-388-4919. Information can also be submitted online at www.vtips.info or by texting "CRIMES" (274637) to keyword: VTIPS.
• On April 9 at 8:44 p.m. were notified of a car that went left of the center line on Route 17 East in Addison and almost collided with another vehicle. The car then ran into a sign (belonging to the state of Vermont) on Route 17E in Addison by the intersection of Mountain Road. Police alleged that the driver, identified as Tyler Malloy, 20, of Middlebury, fled the scene, parked the car in Weybridge, and made his way to Burlington. At approximately 1 a.m. on April 10 he was arrested and charged with leaving the scene of an accident and careless and negligent driving.
• On April 9 at approximately 11:44 p.m. received a report that Dusty Grace, 21, of Bristol was firing a gun off Carterville Road in Bristol in the direction of a neighbor's residence, allegedly in an attempt to pick a fight with the neighbor. It was also reported that he was intoxicated and fighting with other people at the scene. While troopers were en route, it was reported that Grace was firing more shots. A state trooper and Bristol police officer arrived and were able to get Grace into custody and secure the firearm without incident. No one was injured during this event. Police initially cited Grace for disorderly conduct, and they said the incident was still being investigated.
• On April 10 received a report that a car belonging to a Burlington couple was parked at the trailhead on Mountain Road in Addison when someone broke into the locked vehicle between 5 and 7 p.m. and stole several items. Reported stolen were the driver's licenses of both victims, a Burton jacket and wallet, a Black Diamond backpack, a leather wallet and cash. Anyone with information in regard to this theft is asked to contact VSP.
• On April 12 at 9:27 p.m. responded to Higbee Road in Monkton for a reported disabled vehicle in a field. Police report that their investigation revealed that Matthew Titus, 20, drove the vehicle in question into the field where it became disabled. The trooper cited Titus, Trevor Mobbs, 22, and John R. Adams, 18, all of Hinesburg, for unlawful mischief and unlawful trespass.
• On April 14 at 10 p.m. were called to Route 7 in Ferrisburgh for a report of a tractor-trailer being driven erratically. The caller told state police that the vehicle parked just down the road from where the alleged operation was witnessed. The trooper located the tractor-trailer and cited the driver, identified as 61-year-old Michael Crawford of Pleasant Shade, Tenn., for driving under the influence.
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With the fall all but behind us now and the holidays on the horizon, it's time to start researching for our 2013 hunts already. I have been hard at work cooking up the MRS write-up for Wyoming elk. It seems as though Wyoming continues to make some very significant changes in their tag allocations. As Wyoming continues to close seasons and cut back tag quotas, the effects have continued to be very significant and detrimental to the overall draw odds, particularly for non-resident hunters.
The limited quota elk areas in Wyoming have been losing between 300 and 500 tags each and every year total. I have to believe this has begun to create a very significant hole in the Game and Fish budget from a revenue standpoint. And now, with rumblings of a price increase in the future, this could make a bad thing worse. We will write up a more detailed synopsis of this tag quota situation in a future issue of E-News.
The prospect of a possible price increase for Wyoming tags has created quite a fire-storm in the cowboy state with the residents. I certainly hope that Wyoming does some detailed market research before they go through with any such increases. Both Idaho and Montana have recently learned the lesson that increasing the price of a tag is not always the answer to budget shortfalls. It is very easy to take a $1 million budget deficit and make it a $5 million dollar hole if you're not careful. There's a limit to what you can charge for an elk tag, and I would say that $1,071.00 is pretty damn close to the line if not a bit over the edge in my opinion. I realize times are tough out there, and the cost of wildlife management is expensive, but just increasing your prices is not always the answer. Just ask the U.S. Post Office. Let me know your thoughts. –Guy Eastman


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Halle Berry's Men: Olivier Martinez Will Be Third Husband
Olivier Martinez confirms reports that he will wed Halle Berry.
Mar. 12, 2012— -- intro: It's official -- Halle Berry and Olivier Martinez are engaged.
Frenchman Martinez finally confirmed the reports while promoting his new South Beach restaurant Villa Azur. "Yes, of course it's true," he told The Miami Herald.
Berry has been sporting an emerald engagement ring since January. Contrary to reports that it was designed by Gurhan, Martinez said it was actually designed by Robert Mazlo of Paris, whom he called "a real artist" who has been making jewelry for "kings and queens for many centuries."
"There is a jeweler taking credit for doing the ring and it's a lie! They have nothing to do with this," he said.
Martinez, 46, has had his share of high profile paramours. He dated Mira Sorvino, Kylie Minogue and Rosie Huntington-Whiteley before meeting Berry, 45, on the set of "Dark Tide," which came out earlier this year.
Berry has famously said she would never marry again, even telling The Sun's Garth Pearce recently: "I wish I had known then that I was not the marrying kind. It would have saved me a lot of time, heartache and grief over the years."
She added, "I have done it twice and I am not going to do it again. The traditional form of marriage is not for me."
"It seems like she has a history of picking the wrong men for herself," Joey Bartolomeo, a senior writer for People magazine, told ABCNews.com.
Perhaps the third time will be the charm. A look back at Halle's men:
quicklist: 1category: title: Gabriel Aubryurl: text: Berry is still locked in a custody battle with ex Gabriel Aubry, the father of her daughter Nahla, who turns 4 on March 16. The actress dated the Canadian model, 34, from 2005 to 2010. After what seemed an amicable parting, the pair began a war of words in the press, with Berry's supporters claiming Aubry was verbally abusive and even used a racial slur against the actress -- allegations which Aubry denied. Their rancor reached new heights this year with Berry filing a restraining order against Aubry after he was accused of pushing their nanny while she was holding Nahla. The Los Angeles Department of Children and Family Services recently closed a child endangerment case against him and last week Aubry was back in court discussing his visitation rights. It may get tougher to see his daughter; Berry has filed a petition to be allowed to move to France with Nahla and her soon-to-be husband Martinez.media: 15902615
quicklist: 2category: title: David Justiceurl: text: Berry's first marriage was to former baseball outfielder David Justice in 1992. It lasted just three years, and the breakup was almost more than Berry could bear. "Her marriage to David Justice was very troubled," People's Bartolomeo said. "After that marriage broke up, she was damaged by the whole relationship." Indeed, three years after marrying baseball star Justice, Berry attempted suicide. "I was sitting in my car, and I knew the gas was coming, when I had an image of my mother finding me," she told Parade magazine in 2007. "She sacrificed so much for her children, and to end my life would be an incredibly selfish thing to do."media: 15902569
quicklist: 3category: title: Eric Beneturl: text: Berry tried marriage again in 2001 with soul singer Eric Benet. The actress credited Benet with helping her through her legal troubles after she left the scene of a traffic accident in February 2000. She paid a fine and received three years probation. Berry also grew close with Benet's daughter India, and even adopted her. "That seemed to be a great thing for her -- she was very happy, he had a daughter, they were raising that daughter together, then they split up and there was talk that he had been unfaithful," Bartolomeo said. Their split occurred seven months after Berry accepted the Academy Award for best actress, in what seemed to be another example of the best actress curse. In the Parade interview, Berry called her relationship with singer Benet "really horrific." "We were in sex rehab after one year," she said. "I wish I had left then, but I was putting everyone's needs before mine."media: 15902703


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Samsung launched its flagship Galaxy S4 smartphone to much pomp and spectacle last night at Radio City Music Hall in New York. Often, such over-the-top theatrics could mask a lack of substance underneath. But that's not the case with the Galaxy S4. We went hands-on with the S4 at the New York event, and came away impressed with the innovative and well-integrated software and hardware enhancements that will keep Samsung well-ahead of its competition.
For more information and detailed specs also read our launch article. And make sure to click through to page 2 of this article to read about the Galaxy S4's camera and imaging features.
The first thing to note about the S4 is that it's practically identical in footprint and weight to its predecessor, and yet it's thinner and crams a slightly larger display into that space than on the S3. The S4 measures 13.5 by 7cm (5.38 by 2.74 in), just 1mm (0.04 in) narrower than the S3 - and a notable 11mm (0.43 in) narrower than the Galaxy Note II. The S4 is also very marginally lighter than the S3.
Overall, the phone felt comfortable to handle. Where the Samsung Galaxy Note II is nigh impossible to balance in one hand for typing, not so with the S4. It's weight and dimensions make it light enough to hold in one hand without any noticeable impact, yet large enough to get a satisfying display of text and photos.
The phone's design is a little more squared off around the sides than the S3, but it still felt good in our hands. The back remains a polycarbonate plastic material, but it felt more sturdy than the predecessor, with a slight textured patterning that gave the phone a moderately classier look.
One very noticeable dfference is the larger screen size on the S4. The phone's Super AMOLED screen measures a comfortable 5.0 inches, a satisfying 0.2-inch bump over the S3. The resolution is better, too: 1920-by-1080 pixels, and 441 pixels per inch, a notable step up over the Galaxy S3's Super AMOLED 1280-by-720 pixels and 306 ppi. We could see a distinct difference in the image quality between the two: The S4 looked sharper and crisper to our eyes, on text as well as images. But the distinctions were less clear when compared with the larger Galaxy Note II.
The new model uses a PenTile AMOLED display, the same type as on the S3 before it. A PenTile display arranges the display's subpixels as red, green, blue, green, an arrangement that helps counter the fact that blue subpixels often degrade faster on AMOLED displays. It also accounts for the display not appearing as crisp as an RGB display, such as the one found on the Galaxy Note II.
Indeed, we saw this when viewing a photo on the new S4 compared with the Note II. We noticed some minor differences in color and sharpness on our own photo. The Note II's image appeared slightly sharper, but the S4 had more balanced skin tones.
With the new Adapt display mode enabled, the differences were even more pronounced. This adaptive display setting automatically adjusts the contrast and brightness of the display depending upon the content you're viewing, optimizing based on whether you're watching a video, looking at an image, or reading a Web page or book, for example. On the S4, the Adapt display feature is more universally applied than on the Galaxy Note 8.0 tablet. In the Note 8.0's reading mode that mode is strictly optimized for reading apps and also adjusts for color temperature.
Ultimately, further testing will be necessary under controlled conditions and with the final, shipping S4 to determine how the different settings impact how images look on the display. Among the other display options now available are Dynamic, Standard, Professional Photo (Adobe RGB), and Movie.
User interface and software
Gesture navigation first gained mainstream traction with Microsoft's Xbox Kinect. Then gestures moved into televisions and then to PCs, for example Sony's Vaio E-series. Through it all, we've heard talk about integrating gestures into smartphones and tablets - and now that becomes a reality in the Galaxy S4.
We tested the gesture navigation in the Gallery app, where we navigated images simply with the forward or backwards swipe of a hand. In practice, we found the sensors a bit too sensitive, requiring precision and proximity to work smoothly. More often than not it felt like there was lag, or our swipe wasn't registered. Perhaps that will still be tweaked in time for the U.S. launch coming later in April. Ultimately, as nifty as this feature may seem, Samsung's going to have to offer up some training to walk folks through which apps support gestures, and what those gestures are (for example, you can also swipe in the browser to change among open Web pages, and swipe to answer an incoming call, neither of which we tested).
The Smart Scroll feature lets you scroll through content such as webpages by tilting the phone slightly into the corresponding direction. We did not get a chance to test feature yet but it seemed to work well in the Samsung demo. Smart Pause, meanwhile, detects if you've taken your face away from the screen during playback, and if so, it pauses the action for you. Nifty in its implementation, and its function.
Also new is Air View, a feature that first was announced on this spring's Galaxy Note 8.0 tablet. There, Air View lets you use the tablet's S Pen to hover over information in a supported app, gaining a shortcut to paying or getting further information. For example, in Flipboard, you could hold the pen over a category and get a preview of the headlines. On the S4, which also comes with Flipboard, you can now use your finger to do these actions. You can also use your finger to draw directly on the screen using an included app like S Memo, just as you'd use the S Pen on the Note II. For both actions, we found our fingers less precise than using the S Pen on the Galaxy Note 8.0; but, our fingers got the job done without the albatross of a pen.
The S4 phone actually borrows heavily from software elements found in the Note 8.0 tablet, which was only just introduced in February, and will be available in Q2 2013. Multi-window provides a scrollable list of supported apps (apps like email, gallery, Gmail, Internet browser, maps, messaging, S Memo, Talk, and YouTube). Long hold the back button to see the fly-out menu, then tap and drag one app, then the second app. You could technically choose to have three things going at the same time, if you were to overlay the popup player as well.
Entirely unique to the S4 phone are the array of features around health and fitness. We liked how the apps for these features were integrated, taking advantage of the new ensors built-into the phone - including ones for temperature and humidity.
In general, we liked many of the tweaks to the software, and many of the included apps - be they for health tracking or TV viewing or scanning business cards. On the whole, these enhancements collectively appealed; the real proof, however, will lie in how well these features all work with a device in the real world.


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On April 23, Doug Hagmann exposed Canada Free Press readers to the theory that simmering social unrest in America and (to a slightly lesser extent) across the globe is "not due to Obama's inexperience or failed policies. Rather, it is the direct result of the implementation of his successful policies."
I've been saying this for some time, but I was still gratified to hear Hagmann say it, and that his column and May 7 followup piece gleaned significant exposure. Attributing his information to an anonymous insider, Hagmann outlines how the Obama administration is covertly utilizing prominent agitators among the political left to incite chaos, and eventually violence, based on racial and class factors, while the administration continues to sabotage America's economic engine. The latter efforts are also intended to catalyze widespread civil unrest.
Implementation of this plan is, according to Hagmann's source, being carried out via Obama's unelected czars and heavily involves the Department of Homeland Security. From lower-level DHS agents making payments to street-level agitators, to former green energy czar Van Jones mentoring Occupy leaders, to coordination with political allies such as the New Black Panther Party and the Nation of Islam's Louis Farrakhan, the administration has all bases covered. Cultural balkanization and another heavy hit to the economy are calculated to result in unprecedented rioting and finally widespread public pandemonium followed by implementation of martial law.
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The objectives here are personal power for Obama, of course, and a coalescing of the federal government's authority; the goal, the destruction of the United States of America as a constitutional republic.
Like the class-warfare issue, the racial component is only a part of the agenda, but this being America, it is a significant one. In the operational sense, it is both a sad irony and potentially very dangerous that the left has managed to grow up a crop of black Americans who are as ignorant, belligerent and destructive as white bigots of bygone days falsely contended.
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Based on who and what I knew Obama to be – and I knew this well before he was elected – when he did win the presidency, my immediate thought was This is one mother****er who's going to do his level best to stay in office permanently.
When I called Obama a communist in 2008 and 2009, even conservatives giggled, but it made perfect sense to me. Everyone of significance in the man's life had either been a card-carrying communist, or their worldview was principally based on Marxism. The Black Liberation Theology (effectively an oxymoron) in which Obama was schooled for 20 years has its roots in Marxism, as does the social justice doctrine to which he, his minions and their useful liberal idiots so dearly adhere.
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When racial tension increased amidst Obama's deleterious weighing-in on issues like the Henry Gates affair in 2009, the administration's refusal to prosecute members of the New Black Panther Party for voter intimidation and revelations that Eric Holder's DOJ wasn't prosecuting blacks for anything they could remotely rationalize as political (including black-on-white crime), most people saw poor leadership or a bumbling incompetent. I, however, saw nascent choreography, the subtle inflaming of black resentment and the abrading of old scars.
All of this – as I believed then as well as now – was calculated to cultivate a black populace that would be ready to take to the streets at the slightest provocation. As recently as this weekend, Obama's mealymouthed attorney general, Eric Holder, invoked the name of Trayvon Martin at a meeting of the Detroit chapter of the NAACP.
Obama implemented his big-government takeover so rapidly after taking office that even those who had his number were surprised. Ostensibly, these were remedial measures to address the economic implosion he and his activist cronies helped bring about via collaboration with government power players, but they were over-reaching. When detractors pointed this out, Obama countered with jokes concerning people complaining about "socialist mops."
It might be hard at times to discern whether Obama is a communist, an Islamist, or a nihilist who simply wants to see the world burn. His actions in America certainly indicate a desire to culminate 100 years of Marxist wet dreams; however, his furtive participation in the "Arab Spring" that is sweeping Middle Eastern and Arab nations suggests a yearning to touch off a global conflagration that would indeed have the world burning for decades, so pernicious are Islamists' designs for a worldwide caliphate. This obviously could not be actualized without tens – if not hundreds of millions – of deaths.
Now, I wouldn't want anyone to get the impression that I think I'm the only one who knew what was going on. Obviously there are others, but when you have allegedly conservative journalists and commentators suggesting that Barack Obama might be a socialist, or kind of a far-left guy (instead of a naked communist) at this stage of the game, there's a serious perceptual problem in play. Even now, we hear people who ought to know better explaining away Obama's sinister executive orders as boilerplate, run-of-the-mill formalities.
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We've gone beyond the frog in the pot of water who doesn't realize he's being slowly boiled. The frog has been doused with gasoline and ignited, and it's time for him to start screaming.


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Anthony Bourdain Parts Unknown
Parts Unknown: New Mexico
Aired May 25, 2015 - 21:00 ET
ANTHONY BOURDAIN, CNN HOST: Since I was 14 years old, I always wore cowboy boots. Maybe because my little boy role models were always the men in the black hats. Richard Boone in "Have Gun Will Travel," Robert Vaughn in "The Magnificent Seven." "Silent Killers." Men with pasts. Men from somewhere else who found themselves in the great American West. A place where reinvention, a new life was always possible. As long as you were willing to kill for it. (MUSIC) The Western myth has pretty much captured the American imagination. None of us can escape it. For ages, we identified ourselves with the image of the lone cowboy, the perception of frontier values, self- sufficiency, rugged individualism, the freedom of wide open spaces. Few places in America still manage to embody that mythic landscape of the imagination like the state of New Mexico. What does freedom mean? It's different things to everybody, it seems, but something about this place manages to catch the overlap between a whole hell of a lot of very different cultures. Old Route 66 runs through New Mexico like a collapsed vein, right through Santa Fe and Albuquerque. It must have seemed like magic once. Families loaded in a massive chrome and steel chariots with powerful V8 engines and took off down that black hop highway. They swept in whimsical motor lodges and bungalows, swam in kidney-shaped pools. Then it all went redundant. Route 66 was decommissioned, chopped up, largely forgotten, except by desperate and lazy travel show hosts. Does anyone else at CNN do this, like drive around at like 10:15 at night looking for tacos? Yes. Probably. I'll say this. The strip takes on a much more interesting look at night. You can imagine Dennis Hopper huffing nitrous and dismembering somebody over an unrolled tarp in any one of those sinister-looking motel rooms. Cool. Hopefully the tacos first, because after you do the meth you really aren't going to want to eat. In ancient times, really drivers would hang the testicles of their enemies on their rear-view mirrors. Best-case scenario around here, in my humble opinion, taco truck, of which there are quite a few. Parking lot, the smell of mystery parts on a griddle, yes. Knowing my love of all things Mexican, you might expect me to be eating tacos for the next hour. It's good without the live stance. Damn you, tacos village. Come for the vistas, stay for the tacos. Thirty rounds per magazine of steel jacketed destruction as fast as your finger can pull the trigger. You might well ask yourself, why the hell would anybody need a weapon like this? The AR-15 is one of the weapons most reviled by gun opponents. It's also America's favorite rifle. UNIDENTIFIED MALE: I never thought I'd say that a guy from New York is a natural when it comes to shooting an AR-15 in New Mexico, but I'm impressed. BOURDAIN: As a nation, we love them. There are about four million in circulation. Those are the facts. UNIDENTIFIED MALE: Basically, AR-15 is a semiautomatic civilian version of an M-16. And the funny thing is, is that in relation this gun is almost identical to this gun, but this is the one that's evil. Shoots the same caliber, the same magazine capacity, just looks a little different. BOURDAIN: I'm an East Coast guy. I'm a New Yorker. But I come from a place where a glimpse of a weapon on somebody at a bar in the street is reason for panic. Here, and in much of America in between New York and L.A., you walk into a bar, you see somebody with a weapon, it's like, you know, that's my neighbor, you know, maybe he's going hunting. Maybe he's -- who knows? Most of the people you know own guns? Most people you know own guns? UNIDENTIFIED MALE: Everybody I know. BOURDAIN: Everybody. UNIDENTIFIED MALE: Pretty much everybody. UNIDENTIFIED MALE: I had a rifle before I had a baseball bat. BOURDAIN: Meet Jesse, Bill, Bo, and Daniel. Pretty much who we are talking about when we see the latest stats on gun purchases in America and shake our heads uncomprehendingly. That cultural divide, much more than policy, is what's kept the issue of gun control so polarized and so, frankly, hopeless. UNIDENTIFIED MALE: He had a gun before he had a baseball bat. I'm in the same situation. I was shooting a BB gun when I was 5 years old and I knew at that time it wasn't a toy, it was a weapon, and I was very well-educated by my father on the responsible use of that piece of equipment. And that's what's critical to me. UNIDENTIFIED MALE: I shoot all the time and I'm always trying to shoot better than I did last week. It's relaxing. You're out with friends. UNIDENTIFIED MALE: It's fun. BOURDAIN: There's a dark little Genie in all of us, I think, that wants to pick up a gun, point it at something, and blast away. UNIDENTIFIED MALE: This is a new Springfield Arm nine millimeter with 19 round clip. BOURDAIN: Yes. I like guns. I don't own a gun, but I like holding them. I like shooting them. UNIDENTIFIED MALE: It's a Glock .22. It's cheaper than a 40 caliber. BOURDAIN: There is something compelling, an eerie rush, an unholy sense of empowerment feeling the warm glow of these heavy iconic shapes in your hands. Get off my lawn, you kids. UNIDENTIFIED MALE: That's a 357 Magnum. It's an eight-shot revolver. BOURDAIN: Bigger kick on this guy. Yes? UNIDENTIFIED MALE: A little bit. BOURDAIN: You just can't help silently mouthing, "Make my day" or "Feeling lucky, punk." You could do this all day. (LAUGHTER) Whatever your opinion on the subject, fact is, gun culture runs deep in this country. This is what I grew up with, yes. This is -- I shot my very first turkey with this gun at 12 years old, actually. That's a 22 rim fire cartridge. And that is probably the type of firearm that most kids start off with. BOURDAIN: These guys, I'm guessing, are not people I should be worried about. They are nice. And exceedingly patient with a city boy who wants to play with their guns. UNIDENTIFIED MALE: That there is a 338 Winchester magnum. That's a big cartridge, heavy bullet kind of for very large game like elk. UNIDENTIFIED MALE: There's a target up on that hillside. Can you see it? BOURDAIN: Now watch Mr. New York City liberal shoot that target out there from 244 wind-swept yards. Oh, wow. Now am I accounting for windage dropping, and wind distance -- what? UNIDENTIFIED MALE: Yes, you want to aim 13 millimeters to the left, four millimeters high and you'll hit dead-center. (LAUGHTER) BOURDAIN: Left? UNIDENTIFIED MALE: No, hold it right on. (CROSSTALK) I'm just making a joke. BOURDAIN: Taking advantage of the city boy. UNIDENTIFIED MALE: That wind's got to be 20 miles an hour. UNIDENTIFIED MALE: Yes. Holding the rifle in this wind without a brace is tough. UNIDENTIFIED MALE: All eyes are on you, no pressure. UNIDENTIFIED MALE: Pretty close, huh? UNIDENTIFIED MALE: Yes. He may have been a hair left. UNIDENTIFIED MALE: A little high that time, I think. UNIDENTIFIED MALE: A little right. UNIDENTIFIED MALE: Shooting real good, though, tony. UNIDENTIFIED MALE: I mean, you're not missing it by much. UNIDENTIFIED MALE: You're real close. You'd be hitting them. Exhale. Squeeze. UNIDENTIFIED MALE: The biggest thing is just let it surprise you. As you're pulling the trigger, squeeze it slow. And every time it goes off, it should surprise you, that way you don't flinch. UNIDENTIFIED MALE: That looked right on. That looked right on to me. BOURDAIN: I got to tell you, I'm proud of myself. I was like, somewhere in the neighborhood. UNIDENTIFIED MALE: He's a natural. BOURDAIN: You think that, like, people who just don't like the idea of guns, if they had a day out here shooting targets -- UNIDENTIFIED MALE: Definitely. BOURDAIN: -- I suspect a fair number of them would at least temper their views somewhat. UNIDENTIFIED MALE: A thousand percent. Absolutely. UNIDENTIFIED MALE: And you definitely get a respect for the power of it, for sure. BOURDAIN: Generally speaking, me and these guys I think should feel free to buy all the guns we want. It's the rest of you I'm not so sure about. I know how to shoot beer cans. (LAUGHTER) If the zombie apocalypse comes, I'll be ready. As long as they're holding beers. (LAUGHTER) (COMMERCIAL BREAK) BOURDAIN: So, when I grew up, when I was a kid, I played cowboys and Indians. The cowboy myth had such a grip on Americans' self-identity. DAVID MANZANARES: I remember. Playing cowboys and Indians, it was just part of the culture. You looked up to John Wayne, you know, Steve McQueen. My kid, 12 years old, wouldn't even think about cowboys. BOURDAIN: This is David Manzanares. His family has lived here for generations, tracing their roots all the way back to the Spanish conquistador. MANZANARES: You know, those cliff walls out there, Tony, are 160 million years old. And the ones at the bottom, about 220. They're all the way back to the Triassic era. BOURDAIN: And this is Ghost Ranch, next door to David's spread. This is the area where Georgia O'Keefe spent the last and most productive decades of her life. MANZANARES: Now you've walked through her painting. This is what she called my country. You know, it wasn't until I was in my early 20s that I even knew who Georgia O'Keefe was. BOURDAIN: Really? MANZANARES: Grew up with her was being like a grandmother. It took me going into a L.A. and going into a gallery out there, I saw all these paintings. Like an idiot, I said, why did you have pictures of my house? And she said please, take a step back. That's Georgia O'Keefe's. It's just going to get prettier. It's just going to get prettier. BOURDAIN: One of O'Keefe's biographers infamously described this landscape, which had so captivated the artist, as garish, vulgar, and in poor taste, which if you look around is pretty hard to comprehend. This is such the other side of the universe for somebody who lives like I do. Who live in cities, for whom a backyard this big is inconceivable. The idea that there's a certain type of personality who's drawn towards open spaces like this. MANZANARES: You know, this country, it either embraces you or within a year it spits you out. BOURDAIN: We reached the end of our trail at a place called Valley of Thieves, once said to be a haven for infamous cattle wrestlers, of course. They call it the rabbit. Ladies, you know what I'm talking about. Jesus, I'm in my 50s. Everything sits still with -- find a distinguished segue into adulthood one of these days. Three generations of Manzanares are here with me this evening. Herman, David, and Max. We'll do our best to put together a little meal. UNIDENTIFIED MALE: Anybody want some coffee? BOURDAIN: I'll take some of that. Who am I kidding? I'm a city boy. Yes. Trying to get all Jack Palance here. Come on. Who am I kidding? We're also joined by Dan Flores, respected authority, professor of history, author of the book "Horizontal Yellow: Nature and History in the Near Southwest." How Spanish is New Mexico still? I mean, how powerful are the echoes from Spain? UNIDENTIFIED MALE: Spain was in control of New Mexico for far longer than Mexico was. I think a lot of these New Mexican families are 10 generation and 11 generation. When they look back on themselves, they think of themselves as Spanish. UNIDENTIFIED MALE: Those traditions, they've continued to thrive in these little pockets. We're cut off from Spain. So I once worked with people from Spain and they kept cutting up, snickering at me. What they told me was OK, you can knock it off with the Don Quixote phraseology. The equivalent of me today talking -- top of the morning to you, sir. BOURDAIN: Really? UNIDENTIFIED MALE: And they're like stop making fun of us. And I said you know what? I'm not making fun of you. That's the way we speak. You know, we go see grandpa, that's all he knows is 500-year- ago Spanish. UNIDENTIFIED MALE: Maybe if we're lucky enough, we'll have grandpa play his harmonica the way he used to on the cattle drives. BOURDAIN: But I have a plan here on this meat. UNIDENTIFIED MALE: All right, the meat is yours. BOURDAIN: All right, good. UNIDENTIFIED MALE: Just call me cooky. Some good local beef, glowing hot coals, cast iron pan. Want to puree the green chilies here? UNIDENTIFIED MALE: Yes. BOURDAIN: Beautiful. Yes. I'm going to throw those chilies in, a little -- stew it for a few minutes, and it'd be good. I just need a few splashes of like an open beer. Beautiful. Check it off the chuck wagon greatest hits, we've got some beans, some potatoes, some corn bread. We do our best. This is just about ready. UNIDENTIFIED MALE: Let's eat. UNIDENTIFIED MALE: Dig in. BOURDAIN: We done good, gentlemen. UNIDENTIFIED MALE: No kidding. UNIDENTIFIED MALE: Thank you, tony. This is excellent. BOURDAIN: I'm wondering, you guys have been here for so long, your family, could you live anywhere else? UNIDENTIFIED MALE: Not me. No, not me. UNIDENTIFIED MALE: This is home. I always get called back here. You know, I visited Paris and lived in L.A. for a while. And, you know, Paris is pretty great. UNIDENTIFIED MALE: It's pretty great. It's pretty great. But it's not here. BOURDAIN: Dan, I'm curious to know why you chose -- why you came here initially? DAN: Open space. Because I had grown up in a circumstance where you couldn't see 50 feet. I mean, the forest was so dense. I used to climb up into the top of the tree on the highest hill just to be able to see over the forest. So it was something about the idea of being able to see the landscape that really compelled me so. BOURDAIN: The big empty makes a real deep, deep sense to a certain type of person. (COMMERCIAL BREAK) BOURDAIN: Since before 1598, when Santa Fe was established as a province of New Spain, grizzled frontiersmen and hearty pioneers have come to this unforgiving landscape to eke out a difficult existence. Welcome to Santa Fe today. Where we can all live the Western dream and even buy a little piece of it to take home. You got to love it. We pretty much eradicate the Native American culture, and now in newer, more politically correct times, we decide we love Indians and all things Native American. And we're kind of, but not really sorry. But how much is that (INAUDIBLE). That's not all. The new West is inclusive. UNIDENTIFIED FEMALE: Welcome to Santa Fe. BOURDAIN: You've got a whole spectrum of new age crystal types seeking spiritual purity and intensity in the harsh, yet beautiful landscape. It's the last place in the U.S. you can wear buckskin and fringe without irony. While holding a Buddhist blanket. There is, very deep inside this ordinary-looking five and dime, something truly authentic. Hi. Frito pie and a soda, please? This is the Frito pie. As American as apple pie or the Manhattan project, and nearly as deadly. Canned Hormel chili and day-glow orange cheese-like substance dropped like a deuce, another roller in the night, right into a bag of Fritos. It feels like you're holding warm crap in a bag. Close your eyes and I put this in your hand, you would be very worried. (INAUDIBLE). Imposed everything this dish (INAUDIBLE), and yet, it is also delicious. Neither the Frito nor the Frito pie are indigenous to New Mexico. They were actually Texan. New Mexico, you have many wonderful things. Let Texas have this one. I managed to reach a depth of self-loathing that usually takes a night of drinking to achieve. You find the Frito pie experience like you finished Tequila drinking and a strip club. A warm, spreading glow fills my belly as I set out once more in my mighty Ford Galaxy. Yet I am also depressed. Frito pie. I smell metaphor. Speaking of explosive diarrhea -- did you know that the first ever atomic bomb was exploded in 1945 in the desert of New Mexico? Sushi bars, galleries, wrecking massage studios. Crystals? We got them. I think I need to adjust my vent or something because I just see dark portents in all of this. (LAUGHTER) DAN FLORES: Well, there are a lot of dark portents. BOURDAIN: That today is Frito pie. FLORES: This food will lighten you up, I guarantee you. BOURDAIN: Horseman's Haven Cafe sits next to a gas station that is about as far away from the plaza as you can get without leaving the Santa Fe city limits. FLORES: It has a special feel of chilies grown specifically for this restaurant and nowhere else. BOURDAIN: I meet back up with Dan Flores for a little historical perspective over some of Santa Fe's most beloved New Mexican fare. FLORES: I've known people who have journeyed 300 or 400 miles to come and eat at Horseman's Haven. BOURDAIN: Enchilada with carne. Cubed pork in red New Mexican chili sauce with beans and rice. Got to have that. Some pasole, a stew made from soaked hominy and pork. And sopapilla. A fried bread like a spoon bread or a Johnny cake. Did the early Spaniards, early cattle, railroad men, and -- you know, the people on their way to making this America, were they romantic about this part of the world? FLORES: They thought of it as a hard place. For one thing, it was exceedingly remote. When you were here, this seemed like one of the farthest reaches of the globe. I mean, initially, Americans began coming here because they perceived that Santa Fe was so remote from the rest of the Spanish empire that it was possible for the United States to pluck it. I don't think anybody becomes a romantic about it probably until the Taos painters arrive. BOURDAIN: Starting a long-running tradition of artistic pilgrimages to catch the spiritual groove, every kind of utopian dreamer, eccentric, new ager, they all came here in search of whatever. Mmm, chilies. All right. Thank you very much. UNIDENTIFIED MALE: Level three. FLORES: That's level three? All right. We will be careful indeed. BOURDAIN: New Mexican chilies come in two varieties, red or green. FLORES: That's the, by the way, the state question in New Mexico. BOURDAIN: Red or green? FLORES: Red or green. BOURDAIN: Ordinarily, I like green. It's like Yankees or Mets. You've got to pick one. This green, however, is not ordinary green. My face is burning off. This ain't normal. Oh, god. This hurts. FLORES: I'm going to join you. Faith lies right here. BOURDAIN: Def-con one, two, three. It's a slow roll. First you think it's going to be OK. Then it's not. There's nothing you can do but wait it out. I believe they use the same peppers in pepper spray. FLORES: Or repelling grizzly bears if that tells you anything. BOURDAIN: Yes. A shot glass of that will put you in the hospital. FLORES: No kidding. Everybody in the restaurant seems so calm. Maybe they're not eating this. BOURDAIN: They're all just trying to muffle their screams. (COMMERCIAL BREAK) BOURDAIN: History, they say, belongs to the victors. And here, where the myth of the American West took root, where so much romantic lore began, history was being rewritten almost as soon as it happened. This was never the big empty. As Dan Flores writes the idea of a wilderness is itself a cultural construct. As early as 1539 when Marcos De Niza, a Franciscan friar, reported sighting from a distance what he called the seven cities of Cibola, these were interpreted as tantalizing outposts of wealth, possible cities of gold. Coronado, the famous Spanish conquistador, quickly dispatched an expedition and there were indeed cities. Thank you for having us. The home of community leader Ivan Pino in Zia Pueblo. I'm here to join him and his nephew Robert and family in a traditional hunt. UNIDENTIFIED MALE: So we'll be carrying our shotguns. We'll be carrying our rabbit stick. Do this in a bar, you know. UNIDENTIFIED MALE: It's harder. UNIDENTIFIED MALE: It's always good to get a prayer going so that the animals can be willing to take their life. (Speaking in Foreign Language) BOURDAIN: The Pueblo who lived here continuously since around 1250 A.D. had long before the Spanish or anyone else arrived a highly organized society. They built multi-level adobe apartment blocks. They farmed the land. Irrigated crops using intricate water diversion systems. All this in what sure as hell looked like a harsh and unforgiving land. UNIDENTIFIED MALE: This is good weather, though, for hunting because it's a nice breeze, overcast. BOURDAIN: Yes. The breeze is beautiful. UNIDENTIFIED MALE: Not too hot. BOURDAIN: Pueblo long ago learned to adapt to hard times, dry seasons, war, incursion. There were years where there was nothing. And they had to deal. UNIDENTIFIED MALE: We found a pack rat. UNIDENTIFIED MALE: Our first pack rat. BOURDAIN: In preparation for the summer solstice ceremony, game like rabbits and pack rats are collected for the medicine man as a payment for his services. UNIDENTIFIED MALE: How you notice is there's some droppings, fresh droppings. UNIDENTIFIED MALE: You see the droppings, you know there's one around. At this time of the day, they're going to be inside their homes. There's too many predators around. BOURDAIN: It's not easy. Once you find a nest, you got to dig after the little burrowing bastards. You hack, you dig. You dig some more. UNIDENTIFIED MALE: A lot of work for a small rodent. BOURDAIN: I was just thinking that. Yes. UNIDENTIFIED MALE: That's what our ancestors had to do sometimes. You know, when times got hard. Right now there's this drought going on. And if we didn't have the grocery stores -- BOURDAIN: Right. Then hopefully you flush one cleanly -- UNIDENTIFIED MALE: Get it? UNIDENTIFIED MALE: Got it right here. UNIDENTIFIED MALE: Right. BOURDAIN: And give him a good whack on the head. The ratio of work to protein is not a hunter's favor. UNIDENTIFIED MALE: It's whiskers. A little bit of his tail. And plant it back in here. BOURDAIN: To ensure regeneration of this once vital source of food, tradition and ritual requires returning a part of the animal back to the nest. UNIDENTIFIED MALE: I will never go hungry. BOURDAIN: Going for pack rats is really an homage, an acknowledgement of an important earlier time when that was all there was. The 25-year great drought. As a city boy, I am greatly relieved these little critters are for the medicine man and that we won't actually be eating any of them. Instead, Linda, Ivan's wife, is preparing a pretty traditional menu. UNIDENTIFIED MALE: Nothing is wasted when our game is brought home. You know, we dry up and dehydrate the bone. BOURDAIN: Deer bone stew, red chili stew cooked with dried elk and potatoes, pinto beans with chicos, that's roasted dried corn, and tortillas. And of course, more chilies. UNIDENTIFIED MALE: We call this, this dish, pusharound chili because you gather and push around. UNIDENTIFIED MALE: Push around until you see the one you want. UNIDENTIFIED MALE: Yes. BOURDAIN: The chilies in this state are magical. UNIDENTIFIED MALE: (INAUDIBLE). And the seeds have been passed on from generation to generation. They stay within the families. BOURDAIN: What percentage of young people leave and don't come back? UNIDENTIFIED MALE: Not too many people will leave. BOURDAIN: Really? UNIDENTIFIED MALE: No. There are people who leave, but eventually there's this yearning inside you that you want to go home, you want to learn your culture, you want to be a part of everything. BOURDAIN: It would be an understatement to say that the first Europeans who came into contact with Indians was destructive to the culture. And given that history, how American do you feel? UNIDENTIFIED MALE: This village is unique in that we can easily just, you know, ignore everything that happens out there and just keep to ourselves here, and we do that sometimes. We close the road and we take care of our own business here. But it really varies by individual. And maybe even by generation. We have a veteran, a veteran, a veteran that all served in our armed forces. BOURDAIN: A big tradition of serving in the military. UNIDENTIFIED MALE: Yes. UNIDENTIFIED MALE: We continue to be outdoorsmen. And we are survivors. I've dealt with the elements of the dust, the rain, the hail. But it made a better person out of me. We are who we are. We're still going to be here. (COMMERCIAL BREAK) BOURDAIN: Look up in the dark. The night sky. Uncontaminated by the light of any nearby cities, you can see things. And of course, you've got a rich tradition of actual, real-life spooky science fiction stuff. The Manhattan Project in Los Alamos, nuclear missile silos hidden deep beneath the desert floor. It's out there. So where are we? UNIDENTIFIED MALE: Ground zero of where everything seems to have started. BOURDAIN: Submitted for your approval. Norio and his friend James, two men associated with the New Mexico UFO and paranormal forum. UNIDENTIFIED MALE: This is where America's rocketry actually started. BOURDAIN: At the end of World War II, classified units of the CIA and army intelligence were busy sandbagging and sneaking away from probable prosecution, cadres of the world's best rocket scientists. Did I mention they were Nazis? Oh yes, many of them were sent around here. UNIDENTIFIED MALE: Other very mysterious things even took place, allegedly, in 1947. BOURDAIN: 1947, Roswell incident. UNIDENTIFIED MALE: That's right. That's still a mystery. BOURDAIN: Some say. You notice how they always say that in those dubious cheaply reenacted doc shows. Some say it was the remains of an alien space craft. Any who, back then they were working on some pretty cool stuff. For instance, a Mylar-like weather balloon designed to carry high-resolution cameras across the Soviet Union. When they got way up in the atmosphere they pancake out like a flying saucer. Might that explain the excessive zeal and mysterious behaviors? I mean, if one of these things crashed in the desert, you can well understand that a whole bunch of sinister-looking bodies would show up and start telling people never speak of this incident and -- UNIDENTIFIED MALE: You know, it's hard to say, but any military could create a cover story for anything. BOURDAIN: Any possibility of like, cyborgs or aliens? UNIDENTIFIED MALE: Well, you know, I've heard that there is and then I've heard there isn't. UNIDENTIFIED MALE: We're taking you to a place, an undisclosed location. BOURDAIN: Right. UNIDENTIFIED MALE: What's known as Albuquerque's own Area 51. BOURDAIN: There will be no probing involved. You know, because every time there's, like, alien stuff, there's always probing. Always with the probing. I don't understand. It's like, if they've been coming here for years, haven't they done enough probing? Well, if you were like on ghost adventures, you'd be really playing this up. Some say this area was used for sinister experiments, German-speaking cyborgs. We need to find some crack pot science. This is even better than Area 51. This is like Area 61. Area 61 turns out to be a fenced off view of essentially Kirkland Air Force Base. UNIDENTIFIED MALE: The leading edge of military research development and testing. At night, there's a lot of lights. It's a huge complex. BOURDAIN: Fact is, there was and still is some pretty cool stuff being tested out there in the desert. Maybe for DARPA or NSA or the Air Force. Who knows? Do you think there are -- do you think there are other life forms among us who visited this planet? UNIDENTIFIED MALE: Yes, I do. BOURDAIN: Who do you think? UNIDENTIFIED MALE: Well, personally, I have a different opinion. This whole alien concept is a cover story in order to conceal certain kinds of projects, but I could be wrong. But I try to be a realist but I'm open to anything. BOURDAIN: What is for certain and has been authentically documented on film is that somewhere out there among the silos, underground cities, supposed nuclear waste dumps and alien burial grounds, there is a large animal and a hole in the ground. What strange beast even now is being loaded into a grave size pit in the desert for me? (COMMERCIAL BREAK) BOURDAIN: Well, since the beginning of civilization, I think one of the first things we -- any society learned to do is dig a hole, throw an animal in it, you know, cook it. They call it around here a matanza. UNIDENTIFIED MALE: One, two, three, up, up, up. BOURDAIN: It's pretty much an old-school version of a barbecue in the sense that it involves burying a giant pig and the imbibing of much alcohol. About 20 minutes from the nearest paved road is a place called Dead Horse Ranch. People who help us make the show, their families, friends and no shortage of local New Mexican characters have gathered to partake in the festivities. There is beer here. Plenty of it, local and delicious. And abundant. Did I say that? UNIDENTIFIED MALE: Tony, need a drink? BOURDAIN: There are very tasty and lethal as it turns out margaritas and I believe to the best of my recollection anyway that I soon made the classic error of moving from margaritas to actual shots of straight tequila. It does make it easier to meet new people. Let me ask you. Why is it that any time an alien visits like America, there's always anal penetration involved? UNIDENTIFIED MALE: I never heard it before. BOURDAIN: Really? UNIDENTIFIED MALE: Ever. No. Am I into that? BOURDAIN: But the pig, the pig. What about that body in the desert? Some say the tradition of the matanza dates back to Moorish times, when the eating of pig had to be clandestine. But a bit of history you can verify this pig has been cooked slow over hot coals for the last 17 hours. UNIDENTIFIED MALE: I kind of peak on its ass. It looks delicious. BOURDAIN: Frank here, he knows. He runs Poncho's Barbecue in Albuquerque. UNIDENTIFIED MALE: Just start sticking to a part of this. BOURDAIN: Time to get slicing. I step in to help Frank break my piggy friend down into his constituent parts. Beautiful. First off go the legs, what you call your fresh ham. Then your four quarter, your shoulders and whatnot. The loin and rib section, your pork belly. Nothing goes to waste. All those pig parts sent down the line to Harold who's been using them for a veritable rainbow of New Mexico specialties. None of our 300-pound friend will go to waste. He's gotten shredded for tacos, added to the beans, cooked up with pasole, going into chili. Red or green. Oh, yes, that's going to be beautiful. The tenderloin I set aside for a little time on the grill. Everyone here has put in a lot of work. And they're hungry. Time to eat. I didn't know the show was about this but I've been thinking about it a lot. This sort of cowboys, Mexicans, Indian, romantic idea. A lot of easterners came out and fell in love with this romantic notion of the West and wanted to come out here and sort of kind of create their own version of the West. Was that a good thing? UNIDENTIFIED MALE: That's what helps us as a people, as a native culture. As a culture that's been here for these years. We invite you to come and enjoy what we partake in. I mean the Indians have the beans and the chili and the corn. The Spanish people brought the pork. I mean, and we put that together and we have this meal here. UNIDENTIFIED MALE: People love the native culture, they love the Hispanic culture here. It wasn't always that way when I was younger. BOURDAIN: You played cowboys and Indians as a kid. If there is one American iconic hero it's the lone cowboy. Does that have any resonance at all out here? UNIDENTIFIED MALE: Every culture here, Mexican, Spanish, Pueblo, Reservation, white, we all are cowboys here. UNIDENTIFIED FEMALE: I am a native New Mexican. I have gone through strange phases of, like, my ownership of this place. It's this weird mixed bag of everything here, all the time. And that's -- that is the identity. I don't know. It allows a certain freedom. BOURDAIN: My desire to wear cowboy boots and put a hat on right now, you're sympathetic to that? UNIDENTIFIED FEMALE: Well, I'm from New Mexico, and yes, I would like also like to put my purse word kicking boots and a hat. BOURDAIN: Its very kind of you. UNIDENTIFIED MALE: Well, sure. UNIDENTIFIED MALE: Tony, I got a question for you. What do you think of New Mexico? Kind of what are your thoughts? BOURDAIN: I want try to boil it down to a simple statement. If you're an Easterner and you come out to New Mexico you start to see metaphors in everything but actually if you were to stretch a little bit you could say that New Mexico is a perfect metaphor for America. It is a total mutation. It's got Spanish, Mexican, original American and add a tinge of radioactivity. This is what America really is. We're an immigrant culture, we are a gun culture. The expression of American power and identity has always been the lone cowboy with a gun. That goes deep. This is the heart of the American dream, love it or hate it, this is it.